Stereo Pickups & Phono Cartridges: 1958
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Multichannel Sound Technology in Home and Broadcasting Applications
Report ITU-R BS.2159-4 (05/2012) Multichannel sound technology in home and broadcasting applications BS Series Broadcasting service (sound) ii Rep. ITU-R BS.2159-4 Foreword The role of the Radiocommunication Sector is to ensure the rational, equitable, efficient and economical use of the radio-frequency spectrum by all radiocommunication services, including satellite services, and carry out studies without limit of frequency range on the basis of which Recommendations are adopted. The regulatory and policy functions of the Radiocommunication Sector are performed by World and Regional Radiocommunication Conferences and Radiocommunication Assemblies supported by Study Groups. Policy on Intellectual Property Right (IPR) ITU-R policy on IPR is described in the Common Patent Policy for ITU-T/ITU-R/ISO/IEC referenced in Annex 1 of Resolution ITU-R 1. Forms to be used for the submission of patent statements and licensing declarations by patent holders are available from http://www.itu.int/ITU-R/go/patents/en where the Guidelines for Implementation of the Common Patent Policy for ITU-T/ITU-R/ISO/IEC and the ITU-R patent information database can also be found. Series of ITU-R Reports (Also available online at http://www.itu.int/publ/R-REP/en) Series Title BO Satellite delivery BR Recording for production, archival and play-out; film for television BS Broadcasting service (sound) BT Broadcasting service (television) F Fixed service M Mobile, radiodetermination, amateur and related satellite services P Radiowave propagation RA Radio astronomy RS Remote sensing systems S Fixed-satellite service SA Space applications and meteorology SF Frequency sharing and coordination between fixed-satellite and fixed service systems SM Spectrum management Note: This ITU-R Report was approved in English by the Study Group under the procedure detailed in Resolution ITU-R 1. -
See Cartridge Glossary
32 Cartridge-making Dictionary Audio-Technica’s guide to cartridge-making terminology 33rpm Bonded diamond Channel Balance Connecting (the phono cartridge) very often denotes 12” LP Vinyl records Bonded diamond refers to a The channel balance of a cartridge is the (1949-Today), that should be played at stylus where the diamond tip is ability of the transducer to reproduce left a speed of 33 1/3 rpm, rpm stands for glued on a metal shank that is and right channels in the same manner. Rotation Per Minute. itself glued into the hole of the Channel balance should be part of the cantilever. This construction may cartridge specifications, it expresses the 45rpm increase the mass of the overall tip and possible output difference in dB from one 45rpm very often denotes 7” Vinyl records, affect transient reproduction compared channel to another. A cartridge with ideal (1949-Today) that should be played at a with nude styli that are preferred and used channel balance will playback any mono speed of 45rpm, rpm stands for Rotation on higher-priced models. signal with equal level in both channels. Per Minute. The channel balance will be 0dB. The ratio of the signals between the two channels To install a Phono cartridge, connect the 78rpm Boron (boron cantilever) is specified in dB. Channel imbalance four wires of the cartridge headshell to the 78rpm very often denotes 10” Shellac SP Boron is a chemical element from the can result in several factors independent correct terminals on the back of the Gramophone records (1925-1950) that metalloid family, extracted from Borax and from the cartridge itself: mechanical cartridge. -
Film Essay for "This Is Cinerama"
This Is Cinerama By Kyle Westphal “The pictures you are now going to see have no plot. They have no stars. This is not a stage play, nor is it a feature picture not a travelogue nor a symphonic concert or an opera—but it is a combination of all of them.” So intones Lowell Thomas before introduc- ing America to a ‘major event in the history of entertainment’ in the eponymous “This Is Cinerama.” Let’s be clear: this is a hyperbol- ic film, striving for the awe and majesty of a baseball game, a fireworks show, and the virgin birth all rolled into one, delivered with Cinerama gave audiences the feeling they were riding the roller coaster the insistent hectoring of a hypnotically ef- at Rockaway’s Playland. Courtesy Library of Congress Collection. fective multilevel marketing pitch. rama productions for a year or two. Retrofitting existing “This Is Cinerama” possesses more bluster than a politi- theaters with Cinerama equipment was an enormously cian on the stump, but the Cinerama system was a genu- expensive proposition—and the costs didn’t end with in- inely groundbreaking development in the history of motion stallation. With very high fixed labor costs (the Broadway picture exhibition. Developed by inventor Fred Waller from employed no less than seventeen union projectionists), an his earlier Vitarama, a multi-projector system used primari- unusually large portion of a Cinerama theater’s weekly ly for artillery training during World War II, Cinerama gross went back into the venue’s operating costs, leaving sought to scrap most of the uniform projection standards precious little for the producers. -
An Anthology of Reprinted Articles on Stereophonic Techniques Copyright © 1986 Audio Engineering Society, Inc
An anthology of reprinted articles on stereophonic techniques Copyright © 1986 Audio Engineering Society, Inc. Library of Congress Catalog Card No. 86-070767. ISBN No. 0-937803-08-1. First printing, 1986 April (all rights reserved). Except for brief passages to be used in review or as citation of authority, no part of this book may be reproduced without prior permission from: Publications Office, Audio Engineering Society, Inc., 60 East 42nd Street, New York, New York 10165. Stereophonic recording and playback dominate the that cover certain historical aspects of the subject. commercial media of records, tapes, and FM broad Included here is B. Hertz’s description of Ader’s historic casting, and it is to the credit of both our technology stereo transmissions from the stage of the Paris and our binaural hearing capabilities that a single pair Opera in 1881. Welch and Reed’s description of the of channels can produce auditory perspectives so Columbia Multiplex Grand phonograph is included, convincingly. since it was undoubtedly the first instrument which In the days before loudspeakers and amplifiers, could actually record stereo. Further historical papers headphones and carbon microphones were used to cover the work of Blumlein—truly the father of stereo— transmit stereo from the stage of the Paris Opera to and the many engineers at Bell Labs. listeners in an adjoining space. This was over 100 The second section of the anthology deals with years ago, and the dream of auditory perspective for analysis and experimentation in stereophonic phe the consumer was not to be fulfilled until Walt Dis nomena. -
1960 Catalog
Shure-the Standard of Quality.. ."In Electronics Since 1925'" Shure Brothers, Inc. is providing for today's critical requirements and will meet the exacting demands of the future. The world of electronics is at the threshold of a new era, and Shure planning envisions dramatic new products and revolutionary applications which will meet the challenge and fulfill the promise of tomorrow. Since 1925 Shure Brothers, Inc., has made numerous significant contributions to the development of orig- inal acoustical-electronic products. In the future, as in the past, you can look to Shure for continued leadership in : Fine Studio and Public Address Microphones Precision Magnetic Recording Heads High Fidelity Phonograph Cartridges and Arms Original Equipment and Replacement Phonograph Cartridges "Industry-Standard" Communications Microphones Handsets and Special-Purpose Microphones CONTENTS Shure Brothers, Inc., is able to give you quality products because we continually strive to raise already critical standards to precision levels previously considered unattainable. Some of the more important factors governing Shure Page quality are: Carbon. .................16 *RESEARCH AND DEVELOPM ENT-A contin- Controlled Magnetic. .l3-14 uing research program is devoted to the objective Crystal.. .............11-12 of developing new products with performance and General Purpose. ......6-10 design standards of a high order. Special Purpose. ...l5,17 & 18 *ENGINEERING FACILITI ES-The most modern Studio .................4-5 anechoic chambers and laboratory equipment, much of it unavailable commercially, have been designed and built by our own engineering laboratory staff. "ADVANCED METHODS AND STANDARDS- Special control techniques and devices enable us to improve the precision quality of customized Stereo Broadcast Equalizer. -
NTSC Specifications
NTSC Modulation Standard ━━━━━━━━━━━━━━━━━━━━━━━━ The Impressionistic Era of TV. It©s Never The Same Color! The first analog Color TV system realized which is backward compatible with the existing B & W signal. To combine a Chroma signal with the existing Luma(Y)signal a quadrature sub-carrier Chroma signal is used. On the Cartesian grid the x & y axes are defined with B−Y & R−Y respectively. When transmitted along with the Luma(Y) G−Y signal can be recovered from the B−Y & R−Y signals. Matrixing ━━━━━━━━━ Let: R = Red \ G = Green Each range from 0 to 1. B = Blue / Y = Matrixed B & W Luma sub-channel. U = Matrixed Blue Chroma sub-channel. U #2900FC 249.76° −U #D3FC00 69.76° V = Matrixed Red Chroma sub-channel. V #FF0056 339.76° −V #00FFA9 159.76° W = Matrixed Green Chroma sub-channel. W #1BFA00 113.52° −W #DF00FA 293.52° HSV HSV Enhanced channels: Hue Hue I = Matrixed Skin Chroma sub-channel. I #FC6600 24.29° −I #0096FC 204.29° Q = Matrixed Purple Chroma sub-channel. Q #8900FE 272.36° −Q #75FE00 92.36° We have: Y = 0.299 × R + 0.587 × G + 0.114 × B B − Y = −0.299 × R − 0.587 × G + 0.886 × B R − Y = 0.701 × R − 0.587 × G − 0.114 × B G − Y = −0.299 × R + 0.413 × G − 0.114 × B = −0.194208 × (B − Y) −0.509370 × (R − Y) (−0.1942078377, −0.5093696834) Encode: If: U[x] = 0.492111 × ( B − Y ) × 0° ┐ Quadrature (0.4921110411) V[y] = 0.877283 × ( R − Y ) × 90° ┘ Sub-Carrier (0.8772832199) Then: W = 1.424415 × ( G − Y ) @ 235.796° Chroma Vector = √ U² + V² Chroma Hue θ = aTan2(V,U) [Radians] If θ < 0 then add 2π.[360°] Decode: SyncDet U: B − Y = -┼- @ 0.000° ÷ 0.492111 V: R − Y = -┼- @ 90.000° ÷ 0.877283 W: G − Y = -┼- @ 235.796° ÷ 1.424415 (1.4244145537, 235.79647610°) or G − Y = −0.394642 × (B − Y) − 0.580622 × (R − Y) (−0.3946423068, −0.5806217020) These scaling factors are for the quadrature Chroma signal before the 0.492111 & 0.877283 unscaling factors are applied to the B−Y & R−Y axes respectively. -
1962 Phono Catalog
iIGH FIDELITY rONE ARMS Shure FOR THE LATEST IN SHURE STEREO DYNETIC high-fidelity PHONO CARTRIDGES- stereo products SEE BACK COVER.. THE ALL-IMPORTANT SOURCE OF SOUND True high fidelity sourld re-creation, begrns at the source of sound. Just as SHURE PROFESSIONAL TONE ARM 1 Combines more important features than any other independent tone arm. 1 balance (without altering overall arm length), tracking force (0-8 grams), and overhang. Floats the needle over the record . smoothly-without "drag"- without "skipu-without unnecessary Cable-Plug Assembly (and ruinous) force. Furnished with cable Eliminates Soldering having plug on each end to simplify and speed up installation (eliminates soldering). 4TIONS: MODELS M232 - MDgfi PROFESSIONAL TONE ARM NET F 3E : TONE ARM M232, for 12" records. TONE ARM M236, for 16" reco-"- . .$31. Model A23H Extra Plug-In ED ACCESSORIES: Arm rest, M236-14%" long . .for Utmost Performance in superior high fidelity systems NEW -.JSTEREO- DYNETIC -PHONO CARTRIDGES featuring THE INCREDIBLY COMPLIANT N21D TUBULAR, DIAMOND S To meet the overwhelming demand for a separate stereo cartridge that will enable tracking at extremely low pressures (2-2% grams), Shure announces these worthy additions to the incomparable family of Stereo Dynetics. SPECIFICATIONS : D. C. Resistance: 280 ohms. Channel Separation: More than 20db Terminals: 4 terminals. Adaptable to at 1000 cps. 3 terminal arms. Frequency Response: 20 to 20,000 cps. MOUNTING: Standard W" and A'' centers. Output Voltage: 4 mv per channel at IOOOcps. STYLUS: .0007" diamond stylus, Load Impedance: 47,000 ohms' Model M7D Custom Stereo Dynetic cartridge Compliance: Vertical, Lateral 9.0 x 10-6 . -
COMMUNICATIONS .S46 a ,Qf" U FORUM Sb
00 HE7601 S@ COMMUNICATIONS .S46 a ,qF" U FORUM Sb HIGH-DEFINITION TELEVISION Robert Hopkins, Advanced Television Systems. Committee Kerns Powers, RCA Laboratories Craig Cuttner, Home Box Office Renville McMann, CBS December 5, 1985 Genga Arulampalam, Rapporteur MASSACHUSETTS INSTITUTE OF TECHNOLOGY Y1N MASSACHUSETTS INSTITUTE OF TECHNOLOGY COMMUNICATIONS FORUM CAMBRIDGE, MASSACHUSETTS 02139 TELEX: 92-1473 MITCAM HIGH-DEFINITION TELEVISION Robert Hopkins, Advanced Television Systems. Committee Kerns Powers, RCA Laboratories Craig Cuttner, Home Box Office Renville McMann, CBS December 5, 1985 Genga Arulampalam, Rapporteur HIGH-DEFINITION TELEVISION Renville McMann - CBS McMann began by stating that the quality of High- Definition Television (HDTV) is determined by the quality of production, transmission, and display. He said that CBS had conducted some studies using high quality cinema film in an attempt to classify and aefine picture quality relating it to picture resolution and the number of lines. As at present, standard TV images had a resolution in the range of 525 lines. However, the Japanese have been working on the NHK system which has 1125 lines. He said that what they were looking for in HDTV was improved resolution, improved color, wide screen aspect ratio, and stereophonic sound. As for wide screen aspect ratio, the current specification of 4:3 has been used for some time and yields a good picture. However, for HDTV a wider screen of 5:3 was first discussed and it was then decided that 5.33:3 woulo better allow the transmission of normal wide aspect motion pictures with minimum distortion. In the area of color rendition he said that the interference between color and luminance information should be completely eliminated, and color sharpness should be improved. -
SPU Classic SPU Gold Reference SPU 85 SPU 90Th Anniversary
SPU Classic SPU Gold Reference SPU 85 SPU 90th Anniversary Content Why these four SPUs 5 Overview 6 Heritage and new technology: Ortofon’s continuous development since 1918 8 Ortofon timeline (1957– 2010) 12 Cartridge manufacturing: a culture of excellence in 5 steps 14 The Ortofon SPU – a fifty years product story 18 SPU Classic 22 SPU Gold Reference 24 SPU 85 26 SPU 90th Anniversary 28 The Ortofon exchange service for the SPU Collector Box and maintenance 30 SPU Classic technical data 32 SPU Gold Reference technical data 32 SPU 85 technical data 33 SPU 90th Anniversary technical data 33 Why these four SPUs Being the inventor of the world famous SPU stereo cartridge in 1958, Gold Reference is a genuine SPU, known for it’s beautiful fluid midrange, most music lovers, even today, find that there is no name like Ortofon but with just a taste of extra detail. which is more involved in the history of analogue reproduction. This year we decided to give our SPU fans around the world an opportunity to get The SPU 85, from 2003, was a limited production of 500 units. SPU a collection of the four most famous SPUs, each of them a very special 85’s unique characteristics included an outstanding housing made of collector’s item. These four SPUs were limited editions in their days Japanese Hida Beech wood, famous for its strength and hardness. In (except for SPU Classic). These four cartridges represent the diversity of order to influence sound from the motor system, a new wire concept for technical solutions and materials and reflect the non-stop technological the armature windings called “AUCURUM” was developed. -
Sound Recording
Sound Recording David Adamcyk Advanced Mixed Music Composition Microphones Types Dynamic: Operates via a diaphragm attached to a thin coil wrapped around a magnet. The magnetic flux of the coil moving in an electro-magnetic field creates a voltage. • Pros: high moisture tolerance; rugged, simple construction; can handle very high sound pressure levels (good for drums, trumpets, etc) • Cons: slower transient response, not very sensitive • examples: Shure SM57 and SM58 Condenser: Works on the principle of a capacitor: the diaphragm acts as one plate of a capacitor, and the vibrations produce changes in the distance between the plates. An electrical current (i.e. phantom power) is sent to the assembly, and as the diaphragm moves, the voltage of the current changes. • Pros: quicker frequency response than dynamic microphones, especially to high frequencies (lighter diaphragm); very sensitive; fast transient response • Cons: less rugged and more sensitive to temperature and humidity; operate using phantom power (or batteries) • Examples: AKG C-414, Neumann 184, Shure SM-81 Ribbon: Works on same principle as dynamic microphone, but the diaphragm is a thin aluminum ribbon. • Pros: although large, can pick up a lot of high frequency detail without sounding as harsh as condenser microphones; don’t require phantom power. • Cons: the most fragile of microphones • Examples: RCA 44 and the AEA R44 Microphones Directional Patterns (a.k.a. polar pattern or directionality) and Frequency Responses Note 1: Omnis generally have better low frequency response Note 2: Polar patterns are frequency dependant Note 3: The off-axis frequency response of directional mics varies significantly Source: Williams, Michael. -
THE SORCERER's APPRENTICES: AUTHORSHIP and SOUND AESTHETICS in WALT DISNEY's FANTASIA by Daniel Fernandez a Thesis Submitted
THE SORCERER’S APPRENTICES: AUTHORSHIP AND SOUND AESTHETICS IN WALT DISNEY’S FANTASIA by Daniel Fernandez A Thesis Submitted to the Faculty of the Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Masters of Arts Florida Atlantic University Boca Raton, FL May 2017 Copyright by Daniel Fernandez 2017 ii ACKNOWLEDGEMENTS I would like to thank my committee members for all of their guidance and support, especially to my advisor Anthony Guneratne for his helpful suggestions during the writing of this manuscript. I am also grateful to a number of archival collections, particularly those of Yale University for providing me with some of the primary sources used for this manuscript. Likewise, I would like to acknowledge Stephanie Flint for her contribution to the translation of German source material, as well as Richard P. Huemer, Didier Ghez, Jennifer Castrup, the Broward County Library, the University of Maryland, the Fales Library at New York University, and Zoran Sinobad of the Library of Congress, for the advice, material assistance, and historical information that helped shape this project. iv ABSTRACT Author: Daniel Fernandez Title: The Sorcerer’s Apprentices: Authorship and Sound Aesthetics in Walt Disney’s Fantasia Institution: Florida Atlantic University Thesis Advisor: Dr. Anthony Guneratne Degree: Masters of Arts in Communications Year: 2017 This thesis makes three claims new to the critical literature on Walt Disney’s 1940 film Fantasia. Setting the scene by placing a spotlight on the long-serving Philadelphia Orchestra conductor Leopold Stokowski, it contextualizes his pervasive influence, as well as contributions by others that shaped Fantasia and defined the film’s stylistic elements. -
HARRY F. OLSON December 28, 1901-April 1, 1982
NATIONAL ACADEMY OF SCIENCES H A R R Y F . O LSON 1901—1982 A Biographical Memoir by CYRIL M. HARRIS Any opinions expressed in this memoir are those of the author(s) and do not necessarily reflect the views of the National Academy of Sciences. Biographical Memoir COPYRIGHT 1989 NATIONAL ACADEMY OF SCIENCES WASHINGTON D.C. HARRY F. OLSON December 28, 1901-April 1, 1982 BY CYRIL M. HARRIS ARRY F. OLSON, pioneer in acoustics and electronic H sound recording, died on April 1, 1982, at Princeton Medical Center at the age of eighty-one. He had been a mem- ber of the National Academy of Sciences since 1959. During his career of nearly forty years with RCA, Dr. Olson developed several types of microphones for broad- casting and recording, high-fidelity loudspeakers, phono- graph pickups and recording equipment, underwater sound equipment, and sound motion picture and public address systems; he contributed substantially to the development of the RCA magnetic tape recorder for television and the RCA music synthesizer. Harry F. Olson was born in Mt. Pleasant, Iowa, on Decem- ber 18, 1901, the first of two children. Both his father, a farmer, and mother, a talented amateur artist, were born in Sweden and had come to this country to seek new opportu- nity. Their son exhibited an interest in science and technology at an early age, which they encouraged by supplying him with a modest shop and laboratory. While still in grade school and with very little data on design, Harry built and flew model airplanes—an art then in its infancy.